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At the root of our failure to progress lies the inculcation of a vast web of subtle progressivist influences on our thinking, the greatest and most paralyzing of which is the notion that traditionalism and conservatism are synonymous. The Radical Traditionalist metapolitical precepts–honor, fidelity, hierarchy, and transcendence–aren’t conservative values rooted in the past. They’re perennial precepts rooted in all who reject the self-worship, degeneracy, and materialism of this Mercantile Age.

The opening crawl of the first Star Wars film begins with the line, “A long time ago, in a galaxy far away…,” rooting the franchise in a fundamentally traditionalist, perennial, and cyclical perspective of history, in contrast with the Star Trek franchise which was rooted in the merchant’s progressivist mythos. Contrary to popular belief, there’s nothing intrinsically “progressive,” “modern,” or “futuristic” about technology in and of itself. Throughout history, technology has advanced, receded, shifted focus, and undergone unexpected paradigm shifts; all of which contradict the Mercantile mythos of technology as something gifted to us by the Enlightenment in opposition to throne and altar.

“Traditionalism” broadly represents faith, family, kinship, fertility, honor, respect, honesty, work ethic, and duty. These are the pillars of a healthy society and even civilization itself. These are the pillars of advanced civilization, stimulating harmony and prosperity wherever they’re upheld. Today, however, traditional and family values are stigmatized as “outdated” and “undeveloped” by the biased media and political elites in the Western world.

Present-day Western culture forcefully frames these values with so much disgust as antiquated bigotry to cure and eradicate. These same tactics that were used by European colonialists to obliterate Third World traditional communities and drive them into submission and poverty are today fiercely imposed by the American society on itself, a fashion that also seems to soar in popularity at Euro-Atlantic countries. The final stage in the global advance of the colonial capitalist oligarchs is the reverse colonization of and cultural destruction of the nations in their own backyard. Read the rest of this entry →

I generally resist the urge to get the last word in on back-n-forth arguments. Once both sides have clearly laid out their positions, there’s a point of diminishing returns with repeated exchanges which serve only to dwell on more details and inspire more enmity. That being said, Anglin and several others claimed that my original post was unclear, confusing, and even self-contradictory. I’ll attempt to explain my position on the Woman Question a bit more clearly this time around, contrasting it with Anglin’s.

Against Feminism

Anglin accuses me of feminism, a charge which I firmly reject. I believe that men should be raised and expected to leaders and women should be raised and expected to submit to masculine leadership and authority. I believe the husband should be the unchallenged head of his household and family. I believe that God, through his design of the natural world, designed the sexes for a steward/servant dynamic which is intrinsically encoded in our respective natures and extrinsically required to thrive and succeed in His world.

That’s certainly not feminist.

I accused Anglin of “misogyny” and “dishonor” in my original piece, advisedly, as he has contended without retraction that our women are at least as destructive as Organized Jewry. I’m not in the habit of calling those who disagree with me on theory “dishonorable,” least of all Anglin, but to insist that our mothers, wives, and daughters are, as a class, worse than Jews sort of requires it. While the term “misogyny” is overused in today’s society, and it’s typically associated with feminism, feminists, and degenerates, the irrational hatred of women is a thing, and to compare our women to Organized Jewry is that thing. Read the rest of this entry →

The Slut Walk 2015 season is here. This means scantily clad women parading in the streets chanting “yes means yes!” and all the while pretending to be victims of supposed rape culture. It’s the same old song and dance (even though they do it anew every year) of “muh sexual freedoms” and reductio ad Patriarchy.

On January 24, 2011, Toronto Police Constable Michael Sanguinetti said, ” …Women should avoid dressing like sluts in order not to be victimized.”

Sanguinetti’s abrasive advice is what started Slut Walk, and for the record I’m glad that we have men and women speaking out against rape culture in response to him. I’ve heard worse advice on how to prevent rape, but it’s important to recognize that rape culture didn’t just spring up out of nowhere. Read the rest of this entry →

Title of the film is taken from the poetic line; “Le vent se lève!… Il faut tenter de vivre! (“The wind rises!… We must try to live!”).” — Paul Valéry, “Le Cimetière Marin” (The Graveyard By The Sea)

Some weeks ago I did a review on Hiyao Miyazaki’s Spirited Away(2001) and found that it was generally well received. Well, all except for a handful who called me a basement-dwelling sperg. Anime, animation broadly, is only incidental to Miyazaki’s way of telling stories and if you can get around that it’s some of the best storytelling out there. I’ve described Miyazaki’s movies as lighthearted and whimsical, but The Wind Rises (2015)is not one of them. Its message is probably the most mature and serious one that he has yet given.

The Wind Risesis a story about airplane engineer Jiro Horikoshi in pre-WWII Japan who designed the Mitsubishi A5M, and its successor the Mitsubishi A6M Zero. As the movie’s story tells, Jiro wanted only to make airplanes and was reluctant to work for the government because he knew his planes would be used for making war. During the pre-WWII years Japan was, like many of the Axis states, seeking colonial expansion; they wanted more land and greater political strength. Jiro’s planes would be an instrumental tool in Japan’s aerial prowess, thus the muscle behind Japan’s political decisions. This movie is fundamentally a story about Japan’s quest for political power and the person who was largely responsible for making it possible. Of course, we already know this story ends with Japan signing an unconditional surrender after having its only two Christian cities (Hiroshima and Nagasaki) nuked into scorched earth (but that’s besides the point of this review).

There are distinct nationalist tones throughout the movie, but it’s more like a civic nationalist tone with a slight ethnic nationalist aftertaste. One of the reasons for this is because of Japan’s incredibly high patriotic sense pre-WWII. Happening concurrently was Japan’s manipulative trade practices that they used to bolster their faltering economy. This is important to note because Japan needed economic independence and stability were it to shake Western influences and demands. Japan’s quest for political power is so central to this movie that the bulk of interpretation will come from Francis Parker Yockey‘s Imperium. Read the rest of this entry →